Box 3
Contains 48 Results:
Correspondence, 1955
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1956
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1957
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1958
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1959
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1961
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1962
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1963
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1964
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1965
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1966
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1967
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1968
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1969
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1970
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1971
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1972
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1973
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1974
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1975
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1976
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1977
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.
Correspondence, 1978
Contains materials related to Dorothy Hild’s directorial roles and responsibilities with Balaban & Katz Theater Corporation, Barnes – Carruthers, at the Edgewater Beach Hotel, for the Ballet Folklorico de Morelia in Mexico, for the Africana Dancers, and as an instructor at various YMCA and YWCA locations in Chicago. Her personal files also appear in this series because of the close relationship between her career and personal life.